SYNOPSICS
City Rats (2009) is a English movie. Steve M Kelly has directed this movie. Tamer Hassan,Ray Panthaki,Susan Lynch,Danny Dyer are the starring of this movie. It was released in 2009. City Rats (2009) is considered one of the best Action,Comedy,Drama,Romance,Thriller movie in India and around the world.
Eight haunted people meet and fall apart - looking for redemption in each other. Jim is throwing watermelons off his office roof. He's testing the effect for a possible suicide. But then there is Sue on an adjacent roof about to jump herself. They meet, delay their departure and set off searching for other ways out than down. Sue's ex-boyfriend, Dean, is struggling with his creativity. His paintings are getting panned and his poetry ripped apart. He needs a muse - and who better than Gina, the experimental prostitute with dodgy legs who lives next door. However, Dean soon finds out that Gina never does anything for free. After a short fling with Dean, Olly is lost in a world of sexual confusion when forced to look after his deaf-mute brother Chris for the day. Olly discovers that not only does Chris has gay feelings too, but is more comfortable with them than he is. They embark on a searing quest through Soho's gay community to help Chris loose his virginity. But no-one has more to ...
City Rats (2009) Trailers
Same Actors
Same Director
City Rats (2009) Reviews
Dark Stories of living in the Capital of the UK
I had the pleasure of seeing an early screen of this movie in summer 08. This is a complex movie that has four interconnected parts telling one story of loneliness. I took it to be living in the nation's capital which can be a fractured experience. The best segment involves the young British Star Danny Dyer. He is asked by the mother of a previous friend to help find him. What follows it a gritty expose of the underbelly of the city. I loved every minute of it and it is worth watching the movie just to see it. Secondly there is a dark tale of a mans involvement with a person who sells love. This person is lonely and when she strike up an unlikely friendship it seems that she might finally have found a good friend. The third tale involves a man who is depressed. He throws melons off tall buildings to see what the splatter marks. It makes you think that he is getting the nerve to see what type of mark he would make. Whilst up there he sees a woman bent on the same thing. He talks her down and then they become friends for a time. The subject matter of suicide is handled deftly by the director. It is a rather unpalatable section. The last part is a coming of age story. I did not enjoy this segment at all. Although the women in the audience seemed to enjoy it. This is not the happiest tale I have seen but it is very compelling. Watch it if you like good British films.
A tale of Watermelons
The movie starts strong, opening with a dream of a character that quickly reveals to us the dark, gloom full tone of the movie. A man walking about with a watermelon, going to a rooftop to throw it down "Just to see what happens". Despite the dark mood, what the movie shows is life persisting against all odds in an extremely hostile and cold environment - be it traveling in elevators with watermelons or traveling between tall iron and glass giants, it is as if there was no curiosity, not a single breath left in the city. It depicts the dying side of the city and quite frankly, in all of us. Watermelons deciding whether we are to jump or not from the rooftop. This is not a happy story - for some. It shows us how easy it is to misjudge people, it shows how actions carry consequences and... it shows that it is never too late to redeem ourselves, by digging out our sins just so that we can be forgiven. From suicide to sex, from murder to prostitution, this movie really is all about one thing and one thing only - people connecting with people. The general underlining tone is that, no matter how oppressive things are, there will be those who can give unto us love, companionship and friendship. All loose ends can be connected - 'all that I want is to speak with a real person'.
Not as good as recent entries
A Danny Dyer film, with the other guy, you know, Tanner Hassan, is that right, i'm not sure, but surely a cause for celebration following the exuberant Dead Man Running. But don't be fooled, this film has none of the mockney charm that these two ragamuffins can muster. I ain't no film critic so seeing a guy masterbating to his whore neighbour might not resonate with me as it might others, but I found the whole process somewhat redundant. Give me Malice In Wonderland, give me The Business, give me any other UK gangster film other than this bunch of pointless tripe. With all due respect to the Dyer and the Hassan-meister, this ain't your best work.
Pretentious, Moi!?
This film promises much more than it delivers. I am not necessarily a fan boy of films such as Football Factory, or The Business, which portray Danny Dyer et. al. as cheeky cockney chappies who aren't nice guys but we empathise with and indeed, I applaud Messrs Dyer, and Hassan for taking a film with roles which are far more challenging and require far more acting talent than previously seen from them. They are thoroughly fantastic throughout and earned a star each in this review for their outstanding performances of what is an awful concept, and, quite frankly, script. I do not want to include any spoilers, but it appears that this film, as mentioned by way2grimee is mere arty farty rubbish. It is a film for films sake and as such neglects the audience throughout. It appears the concept of the film drove the dialogue, and this results in a choppy narrative that has been described as 'like pulp fiction', but actually just seemed more like pulp...soggy, and with little substance. It fails to deliver any satisfying character development, leaving a total lack of empathy or understanding for the characters. I also agree with way2grimee that the sexual scenes, both homo and hetero, appear to be there for no other reason than gratuity and controversy and indeed, using cinematic suggestion the same effect on the storyline, and what scant character development there was, could have been achieved, possibly in a much better, more subtle and less brick-through-a-window fashion. As mentioned, I am not a particular fan boy of the British gangster genre, and this therefore in no way swayed my opinion. I do like to support the British film industry, but, unfortunately it seems to be aiming to be more and more pretentious with each film. Everyone in the UK business seems to be so generically British in wanting to show the worst in everything...This film reeked of "Ooh look at how seedy London is"-ness, by someone whose experience of the seediness of London is accidentally talking to a homeless man on his way home from an organic fruit and vegetable stall at Borough Market. Simon Fantauzzo, the writer, strikes me as someone who has spent far too much time studying film and writing itself, and not enough time on cinematography, and trying to engage the audience; as such this movie falls so flat on its face that I feel its release could easily feature on You've Been Framed. Controversial? yes, edgy? perhaps; but engaging? No way.
Shitty Rats.
Danny Dyer. On the cover. Holding a gun. Must be another cockney gangster film methinks, but I couldn't be more wrong. What we have here is a dull and depressing drama in which several scuzzy Londoners cross paths during their everyday lives. No hard geezers carrying sawn-offs. No bent rozzers taking a bung. No suited and booted chancers ducking and diving. Just a whole lot of suicide, sex, murder and drugs, with a masturbating artist, a crippled hooker, a drunken ex-con, a mother looking for her dead son, a self destructive man and woman, and a gay autistic deaf bloke looking to get laid with a little help from his brother. While all of this sounds like the recipe for a sleazy slice of fun, the drama is played out in a very measured (ie., boring) manner, and frequently enters pretentious art-house territory, meaning that most Dyer fans will think it's a load of old pony. I did.